Monthly Archives: November 2011

Transition Design – thoughts

This post comes to you from EcoArtScotland

Gideon Kossoff, in the event last Monday evening at UWS, was attempting to articulate a theoretical framework for transition design, design approaches intended to move towards resilient communities that can address peak oil and environmental, social, existential crisis. This is an important area for theoretical development as well as practical activity. I’m offering these observations from memory, so apologies for any mistakes or misunderstandings.

This project is understood to be undertaken in the context of current design theory, in particular ‘wicked problems’ and ‘user-centred design’. I have reservations about the current assumption that design, in whatever configuration, can solve all the world’s problems. It seems to me that we might offer an alternative argument along the lines that education could solve all the world’s problems. Ascribing solutions to any single discipline or practice is inherently problematic in itself. Graham Jeffrey has argued that any articulation of ‘design’ needs to have a parallel and complementary articulation around ‘performance’. This construction is likely to be more fruitful.

Kossoff framed the complex challenges that are interacting with each other, challenges that we are all familiar with – climate change, food security, existential crisis, pollution, peak oil, etc. At root he argued that, whilst the externalisation of environmental impacts may be one problem, another is the way in which our needs are met externally or within our homes, communities or regions. At the core of his argument is a critique of neo-liberal consumerism.

He set the stage for the idea of sustainability and resilience in terms of basic needs, but he defined these more broadly than work, housing and shopping. His definition included spiritual, creative, security, communality, etc.

Core to Kossoff’s theoretical framework is a developed understanding of holism which he unpacked in detail. Holism is nested and exists at the domestic, community, regional and city level, and there are historical examples of these, but holism at the global level remains something to be understood. He did differentiate between holism encompassing diversity and holism as uniformity (Nazism).

His idea of holism becomes operative when related to holistic therapies: he hinted at, but didn’t explore the role of intervention in holistic therapies – a subject that perhaps Aviva Rahmani is currently exploring in her work on Trigger Point Theory from an ecological perspective.

But the constant juxtaposition with modern and pre-modern, pre-industrial cultures, developing the contrast between mass production of bread with local production of bread, romanticised the pre-modern in ways that we know are deeply problematic.

Gavin Renwick’s work with the Dogrib in the Canadian North West Territories, in which he highlights the Elder’s rubric “strong like two people” is significantly richer and more provocative. The Elders are acknowledging the necessity of young people operating in the western culture, whilst also valuing and understanding traditional culture. This is a richer and more productive construction which does not romanticise the pre-modern, but rather values it for what if offers to life now. Renwick also highlights a correlated idea which is “being modern in your own language”, an idea which is strong in Scottish writing of the 20th Century including the likes of MacDiarmid and others.

Kossoff’s articulation lacked a strong practical articulation of ways that the ethical can be woven into the fabric of life – I’ve elsewhere talked about Eigg’s move to renewable energy and the importance of the ‘cut-outs’ built into the system ensuring that no one person can be greedy at the expense of others.

Finally in the discussion the issue of technology was raised. Our extensive dependence on digital devices is a problem for Kossoff’s construction of the ‘good life’. If holism is about the satisfaction of needs within nested structures, what is the role of the internet, mass communications, social networking, etc? I’m not sure I have an answer, but I was very struck by the argument made by James Wallbank of Access Space in Sheffield. He said that their organisation will offer anyone a free computer, but they have to come and learn to build it themselves. Buying a computer off the shelf is buying ignorance. Like the example of social justice embedded in the renewable energy system on Eigg, the example of Access Space is one which addresses resilience whilst also embedding learning and empowerment in the satisfaction of everyday needs.

I’d really like to revisit the conclusions that Kossoff offered as well at some point.

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.

It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
Go to EcoArtScotland

Campus Party

This post comes to you from Engage by Design

Campus Party is the largest Internet event in the world, with several different ‘parties’ being held all over the globe. For seven days they open their doors to thousands of people all working in the digital sector. Campus party believe that the human factor is at the heart of the festival and run by the slogan ‘The Internet is not a network of computers, it’s a network of PEOPLE’.

The event has evolved into a 7-day, 24-hour festival connecting online communities, gamers, programmers, bloggers, governments, universities and students and has a broad focus, covering technology innovation and electronic entertainment, with an emphasis on free software, programming, astronomy, social media, gaming, green technology, robotics, security networks and computer modeling.Their stated goal is to bring together the best talent in areas regarding technology and Internet to share experiences and innovate for a “better tomorrow”#.

In collaboration with ‘Apolorama a popular online cultural magazine, and Sari Dennise  the volunteer coordinator of Campus Party Mexico, we were invited to hold a 30 minute video call workshop from the UK with the Campus Party Mexico in Mexico City.

Using one of our values; innovation, as a tool for social change as the basis for the workshop, we asked ‘what is innovation?’. We outlined the Kaleidoscope project and then introduced the concept of innovation* as we see it. For the most of the developers, gamers and participants once we asked the question ‘what is innovation? the response was associated to words like new and the development of technology.

As the workshop was held online we had support in Mexico from the Apolorama team. We presented a slide show which shares the main following ideas;

  1. Explore the perception of Innovations under The Kaleidoscope Project scope.
  2. The kaleidoscope Project diagram.
  3. Intervention and innovation as a social revulsive.
  4. Examples of innovation? from iPhone 1, 5, GMC (genetic modified crops), hummer limousine, chocolate 3d printer, COMA Torolab, Clorus bulbs and mobile apps.
  5. Our understanding of innovation.
  6. The process to be innovative, beta stage as trigger for action and development.

The feedback was really positive from the participants. The Q&A at the end of the workshop shows their attitude and awarenes to develop meaningful innovations with a different paradigm.

 

Engage by Design is a social enterprise developed through the final Master research of Rodrigo Bautista and Zoe Olivia John in sustainability and design. As a consultancy they specialize in strategic interventions that aim to support the transformation of your product or service into a more sustainable one.

Engage by Design’s research arm intends to act as a platform which enables dialogues and actions between a diverse range of disciplines around sustainability and design.

Rodrigo Bautista – Rodrigo is an Industrial Designer and has worked in many different industries including media, products, services and telecommunications. Today his work focuses on strategic interventions and tools to apply sustainability and design instruments within a company.

Zoë Olivia John – Zoë’s background in Fashion & Textiles has lead her into the research and development of better ways to integrate learning about sustainability for Higher Education students and tutors, particularly within the F&T programme. She is interested in finding new ways to readdress our value structure from one of linear economic quantity to one of circular quality.

Go to Engage by Design

30 November: xSpecies Dinner Party « Carbon Arts

DROUGHT AND FLOODING RAINS: THE DINNER

Artist Natalie Jeremijenko and chefs Mihir Desai and Pierre Roelofs create a sensory experience of edible artworks from a fragile land(scape).

Running for over a year in New York and Boston, the celebrated Cross(x)Species Adventure Club Supper Club, comes to Australia for the first time. Five+ paired courses will be served to adventurous palates exploring the unique properties of Australian ecology through modern cuisine techniques and inspired ingredients.

Wednesday 30 November 2011

7:00 – 9:30 PM

Arc One Gallery, 45 Flinders Lane, Melbourne VIC 3000

$140 I Limited seats available

via 30 November: xSpecies Dinner Party « Carbon Arts.

Heavy Water – Peter Greenaway

This post comes to you from Cultura21

Tel Aviv

22 October – 3 December 2011

The famous British filmmaker and artist Peter Greenaway presents a new, spectacular project Heavy Water, a multimedia project by Change Performing Arts, which was especially planned for Chelouche Gallery’s unique exhibit halls in Israel.
After showing projects such as the 9 Classic Paintings Revisited and Leonardo’s last supper in solo exhibitions as well as famous international art events like the Venice Biennale and Expo Shanghai, Greenaway now celebrate World Première in Israel.

He is known for his unique avant-garde approach and  his cinematic work has been praised by the critics. Many of his films have become cult classics. Greenaway explores and experiments in new artistic fields: He likes to probe the boundaries of different media types, challenge his audience and he spurs  philosophical debates regarding the role of art in the contemporary world and in our lives in general.
Greenaway’s new project Heavy Water is a theatrical and dramatic mix of sound, painting, drawing and video, accompanied by the publication of an art book. It elicits apocalyptic thoughts and contains an ostensibly prophetic warning concerning nuclear proliferation and the future of our planet.

„In the last decade, global warming, changing meteorological patterns, melting ice-caps and deepening seas have re-alerted our respectful contemplation of water. Most of the paintings in this catalogue were made in a house in Amsterdam not far from the North Sea, and evidence is gathering that this house will be swept away by floods before the year 2035. The events in this year of 2011 in Japan have disturbed us all and brought vividly to our attention, the thin veneer of our control over water.“ Peter Greenaway

For further information see http://www.chelouchegallery.com/exhibitionsCurrent.php

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

– Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
– Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
– Hans Dieleman (based in Mexico-City, Mexico)
– Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

The Art of Improvisation – Call for Papers ASA 2012

Calendar Variations - Experiment at Woodend Barn, 2010, Photo: Chris Fremantle

This post comes to you from EcoArtScotland

The call for papers for the ASA Conference 2012, which will be held in Delhi on 3-6th April, is now open.

The deadline is the 6th of December, 2012.

We would like to invite you to submit an abstract for our panel ‘The Art of Improvisation’.

We are interested in securing contributions from a broad range of perspectives, e.g. anthropology, the visual arts, music and performance. We are hoping to develop a dedicated journal issue as a result.

Full details can be found here.  Queries should be directed to Amanda Ravetz.

Convenors:

  • Amanda Ravetz (Manchester Metropolitan University);
  • Kathleen Coessens (Vrije Universiteit, Brussel);
  • Anne Douglas (Robert Gordon University, Aberdeen).

The panel is driven by an interest in understanding embodied, experiential knowledge through the lens of experimental arts practice. Taking an expanded notion of improvisation as a state of ‘being alive’ (Ingold 2011), the panel will explore trajectories between improvisation in life and improvisation in art as follows:

In life, asserts Tim Ingold, there exists no script. The primacy of experience is a form of ‘trying out’. We might think of this then as a movement from an indefinable and undifferentiated state to one of feeling our way through creating direction.

In art we cast a critical eye on the ‘givens’, the predetermined structures of social, cultural, material experience while recognising that freedom and constraint are profoundly interrelated. Improvisation in art across cultures is a specific approach to form making that centres the imagination (of the creator/ performer/spectator) precisely on managing the interplay between freedom and constraint.

In artistic research, the artist/researcher places him/herself at the sharp point of the inquiry, re-imagining, re-configuring, intensifying and scrutinising practice to create insights within and beyond the arts.

  • How might a revisiting of improvisation as a condition of life open up approaches to improvisation in art, challenging its current formulation as a specific formal approach?
  • In what ways might such an inquiry inform new understandings of embodied knowledge within and beyond artistic practice?
  • How might such knowledge sit beside anthropological formulations of improvisation and creativity?

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.

It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
Go to EcoArtScotland

WetlandCare Australia National Art and Photography Competition

To celebrate World Wetlands Day 2012 on February 2, WetlandCare Australia is hosting their 5th annual Australia wide art and photography competition. There are categories for young people and adults, and for the first time the competition includes categories specifically for Indigenous artists.

The categories in the competition have been designed to give as many people as possible the opportunity to submit entries. The categories are:

WetlandCare Australia Awards

WetlandCare Australia Senior Management will select 3 of the winning works selected by the judges in Art, Indigenous Art or Photography that best promote the organisations objectives for the next 12 months. These works will be awarded a WetlandCare Australia Award, and will be used in promotional materials and events. See the Rules of the Competition for full details.

Prizes on offer:

  • 3 Nights accommodation for 2 adults in Ramada Breakas Vanuatu Garden Fare with Continental breakfast daily included: valued at AUD$720. Valid February 2012 – February 2013. Some block out dates may apply.
  • 2 night stay for a family of 4 in a 2 Bedroom Riverview Suite at Ramada Hotel and Suites Ballina, valued at $630. Valid 02 February 2012 – 02 August 2012. Some block out dates apply.
  • 2 night stay for a couple in a Hotel Spa Room at Ramada Hotel and Suites Ballina, valued at $330. Valid 02 February 2012 – 02 August 2012. Some block out dates apply.

All artworks and photographs must be the original work of the entrant, and provided on paper, unframed and up to A3 in size.

All categories of the competition are acquisitive; reproductions of the winning entries of the WetlandCare Australia National Art and Photography Competition may be used by WetlandCare Australia to promote wetlands, and the work of WetlandCare Australia.

Competition theme

Wetlands, Tourism and Recreation

For more information about the wise use of wetlands for recreation and other pursuits, you can download the WetlandCare Australia Fact Sheet:

Wise Use of Wetlands

You can also draw inspiration from our facebook page and see some of the amazing wetlands that we are working hard to promote and protect: www.fb.com/wetlandcare

The winning works from the 2011 competition can be viewed in the online gallery and there is also a selection you can view on Flickr

Click here to see the gallery

Click here to see Flickr

The Ramsar Convention website also has information on using wetlands for Tourism and Recreation. Seehttp://www.ramsar.org

Competition coordinator Liz Hajenko says of the theme: “It can cover so many of the different ways we all engage with wetlands and waterways: everything from fishing, sharing time in nature with family and friends, bird watching, through to the benefits and challenges of tourism.”

Click here to read the press release on the launch of the Indigenous prizes

Enter now!

Further information and conditions of entry (including the Rules of the Competition) for the WetlandCare Australia National Art and Photography Competition 2012 is located with the entry forms for the respective categories.
Please print out and fill in the entry forms and post them with your artwork and photographs.  If you are under 18, don’t forget to get an adult to sign your application.

Click here to download a print-friendly version of the ART entry form

Click here to download a print-friendly version of the INDIGENOUS ART entry form

Click here to download a print-friendly version of the PHOTOGRAPHY entry form
The competition closes on December 2 2011.  Winners will be notified on December 22 2011 and awarded their prizes on February 1 2012 at an official awards ceremony at the CSIRO Discovery Centre in Canberra.

World Wetlands Day

World Wetlands Day falls on February 2 each year. It is an international event declared by the United Nations to commemorate the signing of the Ramsar Convention to protect and preserve wetlands around the world. World Wetlands Day is an excellent opportunity to undertake activities focused on raising awareness of the values and environmental benefits of wetlands, both locally and globally. The theme for World Wetlands Day 2011 is Wetlands, Tourism and Recreation

If you are interested in gaining more information on World Wetlands Day and the Ramsar Convention, seehttp://www.ramsar.org/.

 Wetlands are essential, not only as an intrinsic component of balanced ecosystems and sustainable catchments, but also because they provide services to human society and biodiversity generally. The solutions our planets’ needs require creativity and new ideas – a great opportunity to link art and the environment!

Artwork on website front page: Leticia Shiu Nature in the Wetlands Merit Award, Murrary Darling Basin Authority Children’s Art Junior 2011

About Engage by Design

This post comes to you from Engage by Design

Engage by Design is a social enterprise developed through our final Master research in sustainability and design. As a consultancy we specialise in strategic interventions that aim to support the transformation of your product or service into a more sustainable one.

Engage by Design’s research arm intends to act as a platform which enables dialogues and actions between a diverse range of disciplines around sustainability and design.

Rodrigo Bautista

Rodrigo is an Industrial Designer and has worked in many different industries including media, products, services and  telecommunications. Today his work focuses on strategic interventions and tools to apply sustainability and design instruments within a company.

Zoë Olivia John 

Zoë’s background in Fashion & Textiles has lead her into the research and development of better ways to integrate learning about sustainability for Higher Education students and tutors, particularly within the F&T programme. She is interested in finding new ways to readdress our value structure from one of linear economic quantity to one of circular quality.

Please drop us a line and say hello.

 

Engage by Design is a social enterprise developed through the final Master research of Rodrigo Bautista and Zoe Olivia John in sustainability and design. As a consultancy they specialize in strategic interventions that aim to support the transformation of your product or service into a more sustainable one.

Engage by Design’s research arm intends to act as a platform which enables dialogues and actions between a diverse range of disciplines around sustainability and design.

Rodrigo Bautista – Rodrigo is an Industrial Designer and has worked in many different industries including media, products, services and telecommunications. Today his work focuses on strategic interventions and tools to apply sustainability and design instruments within a company.

Zoë Olivia John – Zoë’s background in Fashion & Textiles has lead her into the research and development of better ways to integrate learning about sustainability for Higher Education students and tutors, particularly within the F&T programme. She is interested in finding new ways to readdress our value structure from one of linear economic quantity to one of circular quality.

Go to Engage by Design

Culture Beyond Oil publication launch

Liberate Tate, Art Not Oil and Platform warmly invite you to a get together to end oil sponsorship of the arts. Featuring a performance from singer-comedian Mae Martin, contributing artist to the upcoming Tate à Tate audio tour, the evening will be the first opportunity to purchase the freshly stamped limited edition copies of Not if but when: Culture Beyond Oil.

Event details:

Tuesday 29th November

Free Word Centre 60 Farringdon Road, London, EC1R 3GA

10.30am – 6.30pm Oil daub performance by Ruppe Koselleck

6.30pm – 9.00pm Culture Beyond Oil Launch Event (refreshments provided)

Not if but when: Culture Beyond Oil is a publication that sets out to discuss oil sponsorship of the arts. The single issue, limited edition publication features artworks in dialogue with the BP Gulf of Mexico catastrophe and articles that set out the compelling arguments for an end to BP and Shell’s murky involvement with many of the nation’s favourite cultural institutions.

This is an open event – feel free to invite your friends and colleagues.

Featured artwork: Anthony Burrill, 'Oil & Water Do Not Mix', 2010. Phot credit: Happiness Brussels

The launch event will bring together many of the growing number of artists, activists, cultural workers and gallery-goers who have built the ideas, drive and passion that are embedded in the publication itself. The launch will be an opportunity to celebrate our collective visions and strategies for ending oil sponsorship of the arts.

During the day on Monday the 28th November, each copy of this full colour 1000 limited edition will be numbered and daubed with oil from Gulf of Mexico beaches by featured artist Ruppe Koselleck, as part of his ongoing Takeover BP project, in which Koselleck sells artworks to buy shares with the aim of ultimately taking over BP.

People are warmly invited to come and witness the process during the day, have a chat with people present from Liberate Tate, Platform and Art Not Oil, or browse some of the literature relating to BP and Shell’s global activities.

The Free Word Centre is next to the Betsy Trotwood pub. The nearest tube station is Farringdon (Circle, District and Metropolitan Lines) a 5 minute walk away. Buses that stop near Free Word are 63 on Farringdon Road, 19 and 38 on Rosebery Avenue and 55 and 243 on Clerkenwell Road. See map.

Liberate Tate is an art collective exploring the role of creative intervention in social change dedicated to taking creative disobedience against Tate until it drops its oil company funding. Contact: liberatetate@gmail.com@LiberateTate.

Platform is an arts and research organisation bringing together environmentalists, artists, human rights campaigners, educationalists and community activists to create innovative projects driven by the need for social and environmental justice. Contact: info@platformlondon.org@PlatformLondon.

Art Not Oil encourages artists – and would-be artists – to create work that explores the damage that companies like BP and Shell are doing to the planet, and the role art can play in counteracting that damage. Contactinfo@artnotoil.org.uk.

Sociology of the Arts – Artistic Practices

This post comes to you from Cultura21

Vienna

5th to 8th of September 2012

Call for Papers: The 7th Conference of the Research Network Sociology of the Arts, which is part of the European Sociological Association (ESA), takes place from the 5th to the 8th of September 2012 in Vienna, Austria. The conference will be organised by the Institute for Music Sociology at the University of Music and Performing Arts Vienna and is an event in a biannual rhythm since 2000. The key aim of these conferences is to enable collaboration and scholarly exchange between art sociologists and other scholars of the arts, and to support the presentation of new research projects. Furthermore, inspiration for the further development of the sociology of the arts can be seen as a goal.

The invited four key speakers, Karlheinz Essl (composer), Nathalie Heinich (sociologist), Theodore Schatzki (philosopher) and Laurent Thévenot (sociologist) will focus their speeches on artistic practices. The conference welcomes participants and papers on all core areas of arts sociology.  (Please find the PDF file of the call for papers at the bottom of this post.)
Experienced as well as young scholars from various disciplines sensitive to social inquiries into the arts are invited to participate in the conference. Their presentations can be related to following fields:

  1. Sociology focused on particular domains in arts including architecture, urban planning, applied arts, arts within the domain of popular culture (e.g. film, television, and popular music) as well as traditional ‘high’ arts (e.g. music, visual arts, literature, theatre, etc.).
  2. The process of production, distribution, promotion and commercialisation of works of art including the impact of technology, new means of production, forms of collaboration, the formation of art theory, the development of arts markets, process of valuation etc.
  3. The process of presentation and mediation of arts including art criticism and publicity in all domains of the arts, museums, theatres, concerts, audience studies, attitudes towards the audience, educational programs, etc.
  4. Professional development including amateurs and semi-amateurs, vocational education, art schools, professional differentiation, artistic income, artistic reputation, relation to arts management, etc.
  5. Arts organisations (not only houses such as museums, theatres but also festivals and artists’ unions) – investigation of historical development, power relations, effects, program selection, processes within the organisations such as gate-keeping, leadership, etc.
  6. Arts policy (especially the sociological aspects thereof) including legal issues, public and private funding, public discourse and debates (e.g. classification of art, arts and religious symbols, arts and sexuality, arts and racism), censorship, analysis of the impact of arts, sustainability, lobbying associations, cultural ministries or other government bodies.
  7. Social and cognitive effects of the arts including:  arts and identity formation, arts and bodies, aesthetic experience, arts and ethics, coding and decoding, gender related practices, ethnographic aspects, art for social transformation, arts in communities and arts as a part of urban culture.
  8. Arts from a macrosociological perspective including: (de-)institutionalisation, economisation, globalisation vs. localism, digitalisation, mediamorphosis, arts and social cohesion, arts and ethics, arts and hegemony and arts and power.
  9. Theoretical development in arts sociology such as the production of culture approach, (post-) structuralism, field theory, system theory, praxeology as well as methodological issues.

The deadline for submission is the 31st of January 2012.
Further information on the conference and about the application details can be found on the conference website.

The call for papers can be downloaded as PDF file here:

Call for Papers, Vienna 5-8 Sept.2012, ESA-RN02

For further details on the conference please contact zembylas [at] mdw [dot] ac [dot] at or tel. +43-1-71155-3617.

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

– Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
– Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
– Hans Dieleman (based in Mexico-City, Mexico)
– Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

Designing out Waste – panel discussion at the Royal College of Art

On Monday 7 November, Arcola participated in an exciting discussion about designing out waste in the art and design sector. It was organised by the London Community Resource Network with speakers from TRAID  and the East London Furniture Project; it was an exploration of how artists and designers can ensure sustainability in the first place by Designing Out Waste.

The talk was part of the Sustain series of talks at the RCA. For more information, see HERE

Go to Arcola Energy